History, Modern

This study focuses on four major speeches of the final five months of the Gorbachev era. Three are concerned with the putsch of August 1991, and one is concerned with the December 1991 resignation. First the three major speeches given by Gorbachev immediately following the putsch are analyzed using the components of crisis rhetoric. Next the resignation speech is examined using the concepts found in apologia rhetoric. Finally, based on these four speeches, interrelationships between the two rhetorical forms are attempted using clues found within the actual rhetoric.

Edward Frederic Benson's Lucia novels are comic commentaries on social change and the fragmentation of English society from the end of the Edwardian era into the Georgian, especially reflecting the disenchantment of the English people with their traditional beliefs, roles, and class structure. What Matthew Arnold referred to as the Philistines of England--the newly-risen bourgeois--struggle to imitate the upper classes and to emulate their use of leisure time. Benson's characterizations of the villagers of Riseholme and Tilling match closely the descriptions of those Philistines; however, we cannot dislike them for their weaknesses. The positive change in the author's attitude toward them compels us to cheer them on as the victors of the twentieth century.

This thesis examines United States intervention in the Dominican
Crisis of 1965, against the backdrop of this question: imperialism
or benign intervention? The initial chapters comment upon Dominican
history, imperialism, and attempt to acquaint the reader with the
"land Columbus loved." The remaining chapters are self-explanatory:
Prelude to Crisis, Seven Days in April: April 24-30, 1965, and
Concluding Comments: Why Intervention.

The history of the Boca Pops, so named because it performed popular rather than classical music, began in 1951 with a modest municipal band of 20 volunteer musicians who performed at a Christmas tree lighting ceremony at Boca Raton's Sanborn Square. Yearly, the Pops grew in size and popularity, dominating the local cultural scene, and, as success bred success, the Boca Pops grew into a Titanic. By the late 1980s, the Pops had blossomed into a 95-piece professional orchestra with an annual budget of $2.6 million. Obtaining funds from the state, corporations, ticket sales and wealthy social leaders, the Pops seemed to hum along successfully. However, unbeknownst to anyone outside the board room, financial problems surfaced and were left untreated, growing with each passing year. Huge amounts of debt snowballed out of control and ultimately sank the waterlogged organization in 2001.